art direction

Judgement day

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For those of you who’ve sat on the PM society jury in the past you’ll recall a big drafty room at the BMA in Russell Square and two days out of the office, walking round a room peering at rounds and rounds of cardboard.

This year, like many awards shows, most of the judging took place online, streamlining the process in to one day of robust opinions with the location transferred down the M4 to the Crown Plaza Hotel at Heathrow.

When I remember the first time I rolled up at the PM Society lunchtime bash at the Grosvenor Hotel a few years back, it was mostly print with a few digital pieces starting to creep in here and there. A documentary was seen as breaking important new ground.

This year I was lucky enough to be the PM head judge, and I must say I think the standard of work has steadily improved year on year and reflects a steady growth of creativity in what we do every day at the coal face.

The PMs has always suffered in a lot of creatives minds for having less prestige than some other shows.

Why?

Because there must be a winner in each category, so it removes the possibility of the Craft judges only awarding (what would have been in most other shows a bronze) a bronze.

Sometimes that’s hard to get your head around.

Fortunately this year the Golds popped out, I can’t recall a single discussion in any category about what was Gold.

These days there are quite a few high production films, both animation and live action, that wouldn’t look out of place in a consumer show, some exquisite digital design and even social media campaigns.

This year’s jurors also numbered several previous Cannes judges, which might have seemed unlikely a few years ago.

Nevertheless, some entrants still do themselves no favours.

Let me give you some tips.

If you are preparing work for any awards jury, I ask you to consider that usually those juries are curated from the industry’s Creative Directors.

That means….

We don’t need to see the shoot, most of us are familiar with a set, editing software and lights. It’s less impressive than you might hope.

Unless of course, the technique is part of the idea.

But don’t include the whole story of how you came up with it and how much effort it took to produce, no timelines please. It might impress clients and new biz prospects, but save the backroom insights for them.

Why? because I don’t care. I’m judging the idea and the craft.

So get to the problem and then the idea as fast as you can.

If you have a digital piece, like say even an idetail, don’t just upload all the pages as a series of jpegs. Trust me, nobody has the time to try and figure out what the UX was. Make it as painless as possible and help us love it as much as you do.

As a rule, people presenting the idea to camera, be it agency CDs or Clients is really boring.

Imagine something really boring, then imagine something more boring than that.

You can say it’s a fantastic new idea that people loved but it won’t help. We’ll be the judge of that thank you very much.

I say this with all the genuine understanding of the difficulty that making case history films involves.

And I know not all entrants are agencies, but all entries are equal when it comes to the jury room.

So anyway, I hope this helps.

My thanks to all the jurors who gathered at the Crown Plaza this year, I hope we did all our entrants, organisers and sponsors proud.

And if you got nominated, congratulations. I’ll see you in January.

Have a fab non denominational seasonal holiday break and a happy New year.

 

 

 

 

 

The Artificially Intelligent guide to the new Agency model.

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Over the last few months we’ve heard a lot of exciting news about agencies and clients reinventing the ‘advertising agency model’.

Not the whole agency, obviously, just the interesting part with all the tattooed beardy men and purple haired women.

Because you see, Creative departments simply weren’t working before.

What? you hadn’t noticed?

That’s why you’re not making the big bucks, buddy.

However, fortunately for us, some of those clever people who are earning the bigly-bucks with bells on – have been thinking about this long and hard and have come up with some cunning new ways to reinvent the whole thing.

There are three main ways this creative reinvention is manifesting itself.

The first is ‘Down with awards, long live Process!’.

The second is the ‘My Ball, My rules’ method.

The third is ‘Committees are the way forward’.

Leading from the front was the much publicised boycott of awards by the Publicis group. “No awards entries for a year, let’s spend it on AI process software!” they declared.

Of course they never reckoned on Creative people’s ability to think creatively. We needn’t have worried, last count Publicis had 398 entries at Cannes and won Gold in Pharma and came third in Healthcare Agency of the year via Langland.

Not bad for a group on a Cannes boycott. Maybe we should all try it.

Plus Publicis saved quite a few bob on air fair. They admit they had 15 people going under their own steam, 12 employees in the young Lions competitions and 12 leaders who were there for jury duty, paid for by Cannes.

Oh but wait, they did pay for the account leaders who needed to attend all the important meetings and the you know, all the important stuff.

Apart from the cost of junior creatives sandwich allowances, they saved themselves a shit ton of cash because all their suppliers or clients had to pay for the entries themselves and even their employees who actually picked up the awards had to pay their own way.

I mean it’s almost as if creative people’s careers depend on awards or something the way they managed to get stuff entered. Who knew?

Second, in the ‘My ball, My rules’ camp is P&G.

Recently they announced that they are forming a new agency called ‘People First’ which plans to cherry pick the best talent from the major networks and corral these lucky souls under one roof to service their North American fabric brands.

Naturally, when one of the world’s most powerful clients has a bright idea, agencies will nod, applaud obsequiously and agree through gritted teeth what a fab idea it is, or miss out on their slice of the world’s biggest pie.

But, you ask, is this just P&G setting up an in-house agency without all the bother of trying to find their own creatives or Creative Director?

Not a bit of it, this is completely different.

You have to concede it’s pretty damn bloody clever to not call it an in-house agency as the minute anyone does, I fear all the top talent at the top agencies might have an identity crisis that somehow they’ve crossed over to the dark side.

Thing is, an ad career can sink or swim on the recognition you get for your work. And by association your agency benefits from the afterglow of your genius, making it easier to hire talent and attract other business. That’s kinda the point.

Are the agencies to just forego this?

Well, luckily we don’t have to wonder. This years ‘It’s a tide ad’ campaign that swept the superbowl and won multiple golds at Cannes was won by the amazing agency Procter & Gamble Cincinatti.

Everyone credited appeared to work for Saatchi and Saatchi NY but you know, who cares if the cash is right.

The third act of reinvention is what Campaign described as the dawn of a new age of Creative power at JWT.

Finally!

It’s what we creatives, who’ve been round the block, recognize as the old ‘we don’t need creatives or Creative Directors because everyone’s a creative’ routine.

Or the ‘WDNCOCDBEAC’ routine for short.

Yes, JWT have decided they don’t need a global CCO.

‘Bloody over paid primadonnas’, someone probably said at some point, my hidden sources can confirm.

Tamara Ingram, the CEO, and her chums have realised that what they need is a group of engineers, architects and musicians from the Latin American agencies – an ‘incubation program’ named JumpStart instead of a global CCO.

They’re going to call it the ‘Inspiration Council’.

The only problem, as I see it, with taking engineers, architects and musicians and asking them to tackle creative problems for brands is that pretty soon – if they’re any good – Gosh, darn and damn it if they don’t go ahead and become creatives. This means then you have to fire them all and get some more engineers, architects and musicians to replace them.

Tamara explains:

“They’ll combine this with a ‘Futures Council’. The mix of talent — from data science and creative technology, to strategy and user experience — will work with universities and technology firms to feed the Inspiration Council with knowledge to find the right solutions to solving clients’ business problems.”

See? easy!

Personally I think committees, sorry –  ‘future councils‘ – are always the best way to provide a strong creative voice. Just think of all the great creative ideas or inventions that have come from committees, oops…sorry, Inspiration programmes that you can think of.

I mean there must be literally dozens.

It’s an exciting time to be a creative in a creative department, no more boring architecture or silly music to worry about for a start. So much change, so much reinvention by the people who know best.

As Tamara Ingram so eloquently put it, using simple plain English to make her point:

“This council is about unleashing the imaginations of these thinkers into our creative world,” she told Campaign US. “It is about encouraging a collision of ideas and inspiring the whole agency. It is about recency, relevancy and driving culture. It is about the application of the triangulation of humanity, creativity and technology that generates stand-out work and experiences.”

I couldn’t have triangulated that better myself.

So, it’s clear folks. The future Advertising agency model is an in-house creative department, run by a committee of engineers and musicians with a focus on AI software process systems.

Who wouldn’t want to work there?

 

 

 

 

 

 

 

 

 

 

 

 

 

Pharma? Everything’s looking Rose

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What you can guarantee is that everyone has an opinion about the Lions awards, but what nobody can say about this year’s batch is that it doesn’t represent what we do every day.

It’s just that maybe we don’t all do award winning work every day.

Most of us strive and get really really close, and it’s that striving to push the boundaries of Pharma that keeps our clients on an upward creative trajectory. It improves their businesses and ours and more importantly helps patients too.

If you didn’t succeed this year, I’m sorry but Cannes is pretty bloody tough.

If it helps, you can feel comforted by the fact that actually it’s all just puffery and nonsense and it doesn’t really matter.

Unless you win of course.

Also, even as a judge this year I watched as my agency’s work was flashed on screen, heard some positive giggles from the room, raising my expectations momentarily, then caught out of the corner of my eye someone giving it a three and realised it would never be seen again. That was what we call disappointment in real time.

But I am getting ahead of myself.

Being a small cog in the Lions, you quickly realise the whole judging experience at Cannes is about as well oiled as a machine can be.

You are scooped up from Nice airport and whisked Cannes-ward in air-conditioned luxury, deposited at what is a very nice hotel, handed, rather MI5 style I must say, a box complete with instructions, passes and lanyards and a Gold note book. This is stationary porn at it’s finest.

It bodes well.

A welcome drink on the Carlton beach follows. It’s a strange little soiree in so much that this is the week prior to the festival kicking off and the streets of Cannes are devoid of the heavyweight creative cognoscenti, it was just a few old codgers, some prostitutes and a few teenagers smoking on a bench.

It reminded me of the first couple of years of Lions health.

Time to mingle.

Hello, what jury are you on?

Oh Design? cool.

Me?….no pharma…no not farmer…pharma…..PHARMACEUTICALS.

Yes, that’s right, like pills and stuff.

Next morning at 8:30am we are met at the hotel by our Cannes ‘rep’ who, rather than telling us about local tourist attractions or the all-inclusive sunset barbeque, is tasked with rounding us up and escorting us to the main building within the Palais. She then facilitates the whole judging process.

This is not as straightforward as you might think.

I mean, we are ten creatives (full grown adults mind you) all trying to organise ourselves without the aid of a producer or account person, this is complicated stuff! Literally every morning someone was late, overslept or simply thought we were meeting an hour later.

Our group was an eclectic mix: a couple of white middle aged admen (guilty as charged) Brazilian superstars, Mexican rock stars, Indian gurus, Singaporean hotshots, American glitterati, German wunderkinds and a ‘fab one’ from Liverpool.

And so we are led in to a small meeting room with a lovely view of the azure sea and a coffee machine it takes at least six of us to figure out how to work. This is a step up, we are told, usually it’s a windowless dark room and air con cold enough to freeze all extremities.

The air-con remained.

The first day we are treated to an explanatory video which spells out the system and how the judging works. This was preceded by a visit from Terry Savage himself, the festival CEO. There is something to this nominative determinism lark, I thought to myself, as he cut an intimidating figure announcing in a gravelly Aussie accent “weer gowin to show you a veedeo bud if it carmes from me it hes more menice”.

We duly sat up straight and paid attention.

The first two days are basically this: See the work, judge from one to nine. 1-3 is not on the shortlist, 4-6 possibly a shortlist, 7-9 definitely a shortlist and possibly a medal.

Depending on the category some entries have a different method to judge them using the above criteria. A mix of percentages for idea, strategy, execution and results.

No discussion. Press the number on the tablet.

Next.

The reason for this is clear, and used by other awards shows too. Once you’ve got a shortlist you can then start talking about the work that needs talking about.

Interestingly this system is largely up to the current jury president to shape, this year we were led magnificently by the awesome Rich levy CCO of FCB Health who, having experienced a previous system where they talked about every piece of work right from the get-go, went with this no-chat approach. The problem with the ‘discuss everything’ method is that you can end up at 2am every night debating work you hate or don’t think should even be in the pharma category.

So, thanks to Rich we were able to get a reasonable day’s work in and were away early enough for some jury dinners in the old town.

Day three and the discussions begin. This is what we’ve been waiting for. Let’s get some heated debates going.

Our room was directly next to the Health and Wellness lot. All day we would hear sporadic bouts of hysterical laughing coming through the partition wall. Maybe they were just a funnier lot than us. Maybe the work was hilarious.

So, what’s up next? Yep more Cancer videos. Great.

Once we have a rudimentary shortlist, what you instantly realise is that some great work you definitely saw hasn’t been voted on to it. This is the point where we each get to bring something back.

What you hope is that someone will bring up that work your agency did, because you can’t.

Nope.

Oh well.

What does happen is that if any agency in your group has work shortlisted it gets you some instant sun on the terrace while they talk about it.

The view from the terrace.

This year CDM New York won a Silver for Zac’s Play Day a beautiful and perfectly executed children’s book explaining to children and those around them what living with Spinal Muscular Atrophy can be like.

I was very proud, but I never heard a word discussed about it other than to see it keep popping up on the list. Then some handshakes when they’d decided the medal.

I took all the credit naturally.

Cannes are very hot on subterfuge, collusion and basic skullduggery. There’s an algorithm built in to the tablet voting system that recognises any anomalies. Different voting signs post-lunch with fellow jurors that might be reciprocal, or pre-planned tactical voting..everyone else thinks it’s a shortlist but you gave it a one? it all shows up.

Not that any skullduggery would reflect well on you or Cannes. The pressure at Cannes is to try and find and reward the best work for the category and the show as a whole. There is a mild paranoia about letting the side down for Pharma, so as a team we were determined to keep the standard up there for Cannes, not just Pharma. I think we did that.

Sunday, the last day, is medals day.

We all were rubbing our hands with the anticipation as well as trying to stay warm in the minus 6c temperature.

This was the day that felt most like the famous James Stewart movie, 12 angry men.

Apart from the fact we were ten not twelve, male and female and really quite even tempered.

What I never realised in previous years was that you are given a quota to guide you. 10 bronze, 7 silver and 5 Gold.

This may answer your question as to why one piece can’t win several golds in different categories. Or if it does it swamps everything like last year’s Immunity Charm.

This quota isn’t set in stone. But, like  a wish from a Genie, if you give a Gold you can’t downgrade it. If you give a bronze you can always return to it and vote again and upgrade it. This way you start off cautious and slowly build your big winners out of your medals shortlist.

Some entries began the day as a shortlist and ended up Gold, one stayed Gold all day. Some stayed where they were despite the best efforts of their champions.

You also have the ability to group two or three campaign entries as one, so long as they all are entered in the same category, thus awarding all the ideas and saving yourself some of your quota.

We each had our favourite, and I kinda relished the challenge of lobbying support for a piece of work I liked. The others groaned every time I brought it up. It ended up a Silver, which in the end I think might have been fair.

The thing is, as we kept saying, Silver at Cannes is fucking good. (And actually, so is a bronze and a shortlist.)

But also, and surprisingly to myself, I came round to some pieces championed by others that I had initially disliked. This is what the jury room can do to you. Some amazingly intelligent and talented and highly awarded people persuading you of the entries brilliance, I found myself in the unusual position of ‘client’ to someone’s passionate creative director role. Okay, I’ll buy your argument.

I guess that’s why we are all there. I learned a lot.

And so on Sunday night, you emerge in to the soft evening sunlight, bleary eyed and nursing a nice new summer cold thanks to the air con.

But this year no Grand Prix in Pharma.

Okay, a note on that.

I promise you, had you been on the jury you wouldn’t have awarded one either.

The Golds we did award were truly great but the one thing that got us all excited was ineligible. (Blink to speak) And there was nothing else to compare. So you can’t just go with something you don’t feel is up to it.

So, is pharma destined to be constantly the bridesmaid and never the bride?

I don’t think so. This year the category changes have made real pharma work come out of it’s shell, for once not fighting with Pro Bono or spurious health based activation projects.

The standard of craft is now hitting the mark, and now all it will take is one sublime idea. And there were fifteen of the top Pharma companies represented in the shortlist, so the groundwork is there.

This was truly, what we do every day. Or at least could have been.

Will it be from your agency next year? Now there’s no reason why not.

I believe the Holy Grail is still the Grand Prix for branded work. Maybe that is too much to hope for but we all need dreams.

I’ll leave you with the some final pleas/tips on behalf of next year’s jurors.

1. It’s not enough to win at Cannes just because you entered it. Ten to twenty category entries isn’t going to make it any better. Buddy, it’s still just a woman in a pool. In fact you lessen your chances with each entry. 4 max!

2. You need an idea. It can be small, but you still need an idea. Some stickers won this year.

3. Funny can win too. Check out the Wrestler.

4. That idea you really like but aren’t sure could win? enter it anyway. One of the jurors might spot it, love it and make it theirs.

5. Make sure your case film hits the nub of what makes it special. People in the case film saying it’s great doesn’t count.

6. Probably avoid putting the Art Director and writer in the case vid. (see point 5)

7. Some great results really help. Jurors will spot bullshit results. It doesn’t have to be global PR coverage but if you enter it a year early you may weaken your chances. There were a lot of ‘we’re hoping for big things!’ which is hard to put up against concrete figures. Wait till you’ve got the big things to talk about.

8. If Cannes recommend you put it in the H&W category not pharma but you insist you want the pharma jury to decide, then don’t be surprised if the jury doesn’t think it’s pharma either.

9. Craft counts.

10. Go big or go small. Don’t go medium.

 

If you have any gripes, or questions about why your work didn’t shortlist in Pharma or why certain work did, feel free to ask questions in the box below.

Because of the way WordPress works I have to approve the question before it shows on the site, but I will try and answer as best I can (and if I can remember it). If you really really are curious it might help, or maybe it might be best to let sleeping dogs lie

Up to you.

Until next time dear reader.

 

 

 

 

Why you must learn to hate your own ideas.

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Of course most people like their own ideas, sometimes none more so than creative people themselves.

I’m sure the person who came up with the term ideation was delighted with it.

But what a lot of people, and by that I mean the idea-toting non-creative wing of adland, may struggle with (only because it takes time and experience to learn), is knowing how an idea will actually work or how to make it work, or what it will look like when you’ve done it and how it will be perceived once you’ve had it.

Add to that whether the idea is doable in the time, within budget, and won’t simply look stupid or in poor taste.

People tend to think in terms of scenarios. ‘How about a woman who is having trouble reading the small print on a menu while on a first date.’ is a perfectly reasonable scenario in film, but almost impossible in a still. It’s probably just a woman squinting at a menu.

It’s as hard as knowing if you’ve just had a good idea or not. In fact, arguably that’s what a good idea is.

It’s why we still have creatives, and we still have creative directors (for the moment) and it’s why a creative person’s idea is often – not always – been through their own internal creative director’s office, before it even makes it to a ‘what do you think of this?’ in the open air.

Because an instant love for our own ideas has been tempered by the crushing disappointment of other people’s opinions and a desire to do the kind of work that gets them their next job.

As a creative you start out with a raw talent, ideally, if it hasn’t been beaten out of you by your education system, parental pressure for you to find a proper job or the desire for qualifications in History and Maths.

You take this raw talent, tout your book of ideas around town and after about a year of people hating your ideas, eventually you start doing better ones, then quite good ones and then hopefully a few stonking ones and then, if you are in the right place at the right time, someone will recognise talent it in you and give you a job.

You then spend those first ten or twenty difficult years learning what those ideas that pop in to your head actually mean and how you can turn them in to something. But with practice you get really good at deciphering the bad ideas from good, the practical from the impossible and so on, almost instantly. You don’t always get it right, but it’s a process that takes time to learn.

That experience is hard won, but that expertise is what clients pay for without even really considering it, not just the talent of coming up with them.

It comes with the daily agonising process of coming up with ideas and seeing most of them dismissed.

The problem is, none of that is on show when you present work. It appears that you are just showing a bunch of random ideas that you just whipped up in a couple of days.

Sure looks easy. Let’s all have a go, it’s fun.

But all the years of internal deciphering wheat from chaff is what has led you to this point, not a couple of hours in a brainstorm or scribbling on a pad.

There’s probably a sperm and egg analogy here but I’ll leave it at that.

The famous photographer David Bailey, when asked how he could charge 20k for a day’s shoot when he completed the shoot in a couple of hours, allegedly replied “this didn’t take me two hours it took me twenty years”.

I am not sure if he stole this reply from Picasso who was said to have offered to sign a napkin for 20k on the basis that it wasn’t the minute it took to sign it, it was about the fifty years he had spent making it worth signing.

Experience matters in creativity, almost as much as no experience.

So now if you are a ‘non-creative’ and you think your idea is a way better than what you’ve seen, just ask yourself whether you like it because it’s yours or because it’s actually better.

Because judging your own ideas is different to judging someone elses work. Objectivity is a huge factor in judging others’ ideas.

Judging your own ideas is really hard. And it’s important to judge them as if your career were to be judged on it.

That’s not to say your idea isn’t any good, by the way. But you owe that CD a listen as to why it may not be.

I’ve found the best clients or ‘non-creatives’ can offer ideas and lines but are usually also pretty good at taking push back if the CD (in a sudden role reversal) doesn’t think it’s right. As are the best kind of creatives.

The worst kind of client just want you to do it their way.

Mutual respect is important in a client agency relationship and that includes ideas.

What is usually more helpful to hear from the client side is ‘I think your idea is wrong or not doing enough of this or that. How can the agency solve it?’

The more prescriptive you are the harder it is for agencies to crack the problem.

So it doesn’t mean your ‘I’m not a copywriter but…’ idea isn’t any good. It just depends on how you regard it. Does your idea have some kind of special golden ticket as it’s yours? do you have so few ideas that when you come up with one it needs to be curated like an ancient artifact?

Or is it an idea that deserves the same scrutiny that all ideas, from whatever source they derive from, should expect to receive.

So, let’s assume IT IS a great idea.

Has it been done before? Will it look different and stand out. Will it fit brand guidelines? Is too complicated?

Making sense is only the first step.

Because you may be a CEO or a CMO or even a brand manager or planner or agency suit and your idea may be fantastic. But creatively speaking, if you haven’t spent some time learning these creative ropes, it’s an idea from a junior creative.

In other words, someone who hasn’t learned to reject their own ideas yet.

If you can accept that, then ideate away my friends.

Christmas comes to Pharmaland.

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Think about it. They call it the greatest story ever told.

Actually it’s the greatest healthcare ad campaign that ever ran. It’s text book marketing.

Firstly, you have a blockbuster product that can solve all ills.

Then you have 12 KOLs ready to advocate.

You have a wonderfully written idetail, (previously in hard back.)

You have patient stories inside that make the whole thing come alive.

You have ten important guidelines for prescribing.

You have conference centres designed entirely for the symposiums dedicated to your product, all over the world. (Every Sunday)

You even have jingles that everyone knows.

You have salesmen (and now women) who go in to the community and spread the word.

And you have the promise of ever-lasting life.

And no medics to say you can’t say that.

And it’s available everywhere.

All you need is three wise men and some cattle.

Now that’s a case history.

Merry Christmas one and all.

 

Starting out as a creative? Get Creative.

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When I started out, after a period traveling around the USA with a backpack, I decided to give this lark a proper go.

I found myself a writer out of Watford Copywriting school to partner with (I was very much an art director then) and Rob and I started to get a book together.

We had a rather short list, like many ambitious creatives, of where we wanted to work.

In the 80s GGT was the agency every young creative wanted to work at, the Droga 5, Adama & Eve DDB or Mother of its day. We even turned our nose up at JWT…JWT? who did we think we were!

What we never considered was going the Pharma route.

Not glam enough. No TV. Maybe that was it, but also we just never knew about it or saw anything it produced.

But what we needed were placements at agencies, a short internship that could get us some experience and a foot in the door.

Even today most agencies, consumer agencies at least, still get requests for placements from young teams and some agencies even have to put you on a waiting list, to work for them for free.

This was before minimum wage laws. We had to finance the placement ourselves and make up the shortfall by nicking all the markers and layout pads we could get our hands on. (Apologies to Y&R circa 1986)

But placements were also a way of networking, getting some briefs under our belt.

Rob and I did a hundred and ten ‘book crits’ with every hack in town and ten months trudging the streets before we got offered a job, I dare say it would take more these days.

But today when it’s harder than ever to get a foothold, why do creatives still avoid placements in pharma agencies?

Take a look at the work that’s happening in Cannes, Clios and the Creative Floor awards. Anyone involved in that kind of work would sail in to a decent consumer agency surely?

And yet, I’ve not really heard of any student teams looking in Pharma for a month’s placement.

Not one. Never even been asked.

Okay, the briefs are sometimes more tricky but the opportunities are there.

The way I see it (with hindsight) is that 90% of the placements creatives do in any agency, do not end up in a job anyway so what have you got to lose?

Everyone has the dream of being plucked by a top agency but like footballers if you stay too choosy you can miss out on some great football matches in the lower league and in doing so, improve your skills.

There’s a reason why the top clubs loan out their players to the lower leagues; to get experience.

So, if you are a young creative team looking for placements, would you rather be on that waiting list at BBH or AMV that might get bumped to next year or get a foot in the creative door and start making stuff?

If I had my time again, I might have at least taken a look.

But where to start?

Try doing what we did, scour the award websites, see which work you like and give them a call. ( ok, these days its an email or tweet!)

You never know, you might even like it.

 

 

The LIA awards get Healthy.

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Back in May I received one of those emails you cannot ignore. “Dear Olly, we would like you to be a judge in the inaugural Health and Wellness category at the LIA (London International) awards in Las Vegas in October.”

Hotels and flights paid for.

Hmm, let me think for a moment.

To be honest, the LIA awards could have been judging the Lactose-free Inkjet Awards or the Lazy Imbecile Awards and I would still have signed up.

Leaving aside, for the moment, why an awards show that has resided in the middle of a Nevada desert for the last ten years is called the London International Awards, it did seem like an opportunity too good to miss.

Pharma and Health and Wellness continues to come of age, thanks in no small part to the likes of our Jury President – Jeremy Perrott, Global Chief Creative Officer at McCann Health, pushing our often reluctant industry in to the limelight where it belongs. The LIA awards are another step to being part of the genuine adland gang.

Indeed Healthcare is where the action is these days.

The glee of this invitation lasted right up until this week when the tragic shooting took place and turned the town known for its partying and freedom of spirit in to a bloodbath.

I cannot write about the relatively frivolous activity of judging creative work without mentioning it, because as these events often do, it puts everything momentarily in to perspective.

Anyway, let’s hope America gets a short break before the next NRA funded terror attack happens.

And so it is I found myself last Wednesday in a cab driving past the shimmering Mandalay Bay hotel travelling through a town with 30 degree heat, to sit in a darkened room for three days looking at some of the best work in health and wellness over the last 18 months.

So why do we need another awards show?

Well, what the LIAs isn’t about is huge cabannas on the beach with tech company logos dominating the skyline. It’s not a trade show, indeed it’s not even an awards show in the traditional sense.

The LIAs is palpably about creative awards, celebrating ideas and new innovative thinking ( they dropped the ‘advertising’ from the awards title in 2004 to recognise how the business had changed).  Set up by the founder of the Clios, Barbara Levy, the money from your entries goes in to funding young creatives and account people to come to Las Vegas and learn from the big names across the industry. It’s putting something back, which has to be admired.

Isn’t that better than an international show where no international people show up to collect their award and everyone just gets wasted?

Ok don’t answer that.

It’s aim is to be a genuine rival to Cannes (in terms of kudos at least) and if the level of judging is anything to go by, it already is.

Our first day was pretty brutal. I’ll take you through the deal.

Seven judges from around the world, including Japan, Sydney, Sau Paulo and Toronto with around 240 Health and Wellness entries to separate, the first task was to sort the wheat from the chaff. A large screen displays the entries and we are furnished with a small ipod with an in, out or abstain choice for each hopeful. First day is no talking, just watching.

After ten hours of tinkling piano and ernest voice overs you emerge in to the desert twilight suffering from compassion fatigue. What might have seemed an appropriate peice of music for a heart wrenching story when you were editing your case film a few weeks ago now seemlessly joins up with the next case film and the next heart wrenching story producing an end result that is like watching a sort of eight hour long, disjointed Swedish Independent film.

Day two comes and some discussion creeps in. The ipods now have a numbered scoring system which you mark from 1 to 10 depending on your affection for the concept.

The cut off point is arbitrary to an extent but we began by looking at everything that got above 60% with the ability to ‘rescue’ any forgotten or overlooked soldiers.

It then becomes clear who has a passion for what. I’d say generally most people agree on the big stuff, the zingers. It gets harder to agree when the work is just really good. Is that animation good but the idea a bit unoriginal? Does that campaign belong in the same gang as the others in its category? Does that endline let it down? Is this just a cool looking film but with a flimsy idea at its heart?

At some award shows you are desperately looking for something half decent to award, here – as in Cannes, the half decent doesnt get a look in.

By the end of day two we managed to get a good shortlist narrowed down. Then the next task was to choose what would medal and what wouldn’t.

It’s amazing how long this stuff takes. Personally, when I judge I want to be my own devils advocate and ask the questions that might expose a leak where other campaigns are watertight.

These tiny flaws are what make the difference between Gold Silver or Bronze. Sometimes it might be whether the intent of a great film is actually met. For instance it might be a stunning commercial but does it work as a fund raising machine as intended? It might be an incredible peice of innovation but does it have a legitimate role. Conversely, does it matter if the idea is hard to detect but the work moves me anyway?

Day three was a totally new experience.

The organisers wanted the aforementioned junior creatives and account handlers ( aged between 21 and 30) to sit in on the session when we chose the medal winners.

So about 30 fresh faced young’uns shuffled in and sat quietly (almost) for the whole day as we debated and voted.

I’ll admit that this was a bit weird for probably all of us. But after a while it became a bit like a viewing gallery in a surgical theatre, you just got on with the work and the debating.

It’s also fair to say that at first these whippersnappers also were not that keen on observing a health and wellness jury. I mean, who on earth wants to join a healthcare agency right?

Who wants healthcare briefs when they could be selling sugar to children?

Well, if nothing else I can honestly say that the work selected as winners in our category proved to be as stunning and inspiring as any consumer category at any show anywhere in the world.

One kiddiwink even admitted at the end of the question and answer section that she felt so impressed at the kind of work that’s possible that she had to apologise to us for her initial, albeit silent, prejudice.

But then that’s how we all feel isn’t it?

From the outside our business just looks like a bunch of press ads with headlines about tolerability and efficacy doesn’t it?

Ok, don’t answer that.

But from the inside the jury room at the LIAs, Health is looking more and more like the most exciting gig in town.

Check out the winners in November and the shortlist published here, and start thinking about getting involved for next year.

Because the LIAs have arrived and for the first time, what happens in Vegas, isn’t staying there.